SYMPHONY ORCHESTRA Founded by THEODORE THOMAS in 1891

FREDERICK STOCK Conductor

THE THURSDAY-FRIDAY SERIES Concerts Nos. 2553 and 2554

IIIIIIIIIIIIIUIIIIIIIIII FORTY-NINTH SEASON TWENTY-SEVENTH PROGRAM APRIL 11 AND 12, 1940

iiiiiiiiiiiiiiiiiiiiinn ORCHESTRA HALL Air-Conditioned for Winter and Summer Comfort CHICAGO Slljr ©rrbi’strd Assonatimi 1939 — FORTY-NINTH SEASON—1940

ORGANIZATION The Orchestral Association consists of forty members, from whom fifteen are elected as Trustees. The officers of the Association are elected from the Trustees, and these Officers, with three other Trustees and the Honorary Trustees, compose the Executive Committee.

OFFICERS CHARLES H. HAMILL, Honorary President EDWARD L. RYERSON, Jr., President ALBERT A. SPRAGUE, Vice-President CHARLES H. SWIFT, Second Vice-President ARTHUR G. CABLE, Third Vice-President CHALKLEY J. HAMBLETON, Secretary FRANCIS M. KNIGHT, Treasurer

HONORARY TRUSTEES and Ex-Officio Members of Executive Committee Joseph Adams Charles H. Hamill Russell Tyson

OTHER MEMBERS OF EXECUTIVE COMMITTEE Charles B. Goodspeed Ralph H. Norton John P. Welling

OTHER TRUSTEES Cyrus H. Adams Alfred T. Carton Harold F. McCormick Daniel H. Burnham Arthur B. Hall J. Sanford Otis

OTHER MEMBERS OF THE ASSOCIATION Richard Bentley William B. Hale Theodore W. Robinson Bruce Borland George Roberts Jones Charles Ward Seabury John Alden Carpenter Frank O. Lowden Emanuel F. Selz Mrs. Clyde M. Carr Chauncey McCormick Durand Smith William B. Cudahy Leeds Mitchell Robert J. Thorne Edison Dick Charles H. Morse Mrs. Frederic W. Upham Albert D. Farwell Mrs.BartholomayOsborneErnest B. Zeisler Walter P. Paepcke

OFFICES: SIXTH FLOOR, ORCHESTRA BUILDING 220 South Michigan Avenue, Chicago HENRI E. VOEGELI, Assistant Treasurer and Business Manager CHARLES F. BOSTETTER, Assistant Secretary

FORM FOR GIFTS FORM FOR BEQUESTS I enclose herewith the sum of I give and bequeath to The ...... Dollars Orchestral Association, Chicago, to be added to the Endowment , the sum of...... Fund of The Orchestral Association. CHICAGO SYMPHONY ORCHESTRA FREDERICK STOCK...... Conductor HANS LANGE...... Associate Conductor

The Thursday-Friday Concerts TWENTY-SEVENTH PROGRAM

April 11, at 8 :15 — April 12, at 2:15 1940

Soloist: ARTUR RUBINSTEIN

PRELVDE AND MARCH, from “Scenes from Long­ fellow’s Golden Legend”...... BUCK

SCHERZO, from Music to “A Midsummer Night’s Dream,” Opus 61.. .MENDELSSOHN-BARTHOLDY

SYMPHONY No-. 4, A Minor, Opus 63...... SIBELIUS Tempo molto moderato, quasi adagio. Allegro molto vivace. Il tempo largo. Allegro.

INTERMISSION

CONCERTO FOR PIANOFORTE, No. 1, B Flat Minor, Opus 23...... TSCHAIKOWSKY Allegro non troppo e molto maestoso— Allegro con spirito. Andantino semplice. Allegro con fuoco.

The Piano Is a Steinway

Patrons are not admitted during the playing of a composition for the obvious reason that their entrance would disturb their neighbors. For this same reason considerate persons will not leave during the playing. The performance of the last movement of the final composition on this program will require about fifteen minutes.

COLUMBIA RECORDS

EXTRACT FROM HOUSE RULES: ENCORES NOT PERMITTED Advance Program on Page 30 PROGRAM NOTES By FELIX BOROWSKI

Prelude and March, from Dudley Buck. “Scenes from Longfellow’s Born Mar. 10, 1839, at Hartford, Conn. Golden Legend.” Died Oct. 6, 1909, at Orange, N. J. Dudley Buck was the son of a shipping merchant at Hartford, Conn. His mother was the daughter of Judge Adams, of Portsmouth, N. H., a prominent lawyer in whose office Daniel Webster had begun his law studies. Neither of Dudley Buck’s parents were musical, and it was the desire of his father that the young man should take up the commercial career which he himself had pursued. It followed, therefore, that the talent for music made evident by the boy was not considered any­ thing more important than a means of harmless amuse­ ment. Dudley’s first music study, by that token, was made by himself from such material as he could find. Somewhat later the elder Buck, perceiving that his son was more likely to win success by taking up the career of art than by being forced into business which was repugnant to him, permitted him to take lessons in musi­ cal theory and organ-playing. In 1858 Buck, now nineteen years of age, had made such excellent progress that it was determined to send him to in order to round off his musical train­ ing. At that time the Conservatory of , which had been founded by Mendelssohn in 1843, was the principal school of music in Europe, and to that institution Buck was admitted as a student in musical theory and compo­ sition of Moritz Hauptmann and Ernst Er. Richter, of Julius Rietz in orchestration and of Louis Plaidy and Ignaz Moscheles in piano-playing. Buck stayed'eigh- teen months at Leipzig, and as organ-playing was par­ ticularly appealing to him, he went to Dresden in order to become a pupil of Johann Schneider, one of the most famous organists then living, who had been the teacher of Mendelssohn, Schumann, Nicolai and Liszt. 5 PROGRAM NOTES—Continued

Having spent three years in Germany, Dudley Buck betook himself to , where he tarried for another year. On his return to the in 1862 he officiated for some time as organist in the Park Church, Hartford, his native city. After the death of his parents Buck moved to Chicago and for three years was organ­ ist of St. James’ Church. The Great Fire of 1871 swept away Buck’s house, and in that holocaust he lost most of his manuscript compositions—a concerto for piano, a concert overture, a trio for piano and strings, etc. Dis­ couraged, Buck departed again for the East. For a time he became organist at St. Paul’s Church, , but his growing reputation as a and organist had drawn to Dudley Buck the attention of Theodore Thomas, and that conductor advised him to settle in New York. There, in 1875, Thomas made him his assist­ ant conductor at the concerts that were being given under Thomas’ baton at Central Park Garden. In 1877 Buck was appointed director of the Apollo Club, New York, and organist of Holy Trinity Church, , which latter post he held until his retirement in 1903. As a composer Buck was finding ready recogni­ tion as one of the coming men. In 1876 he was invited to write “The Centennial Meditation of Columbus” for the Centennial Exposition at Philadelphia, a commis- sion which had come to him at the behest of Theodore Thomas, who also had been instrumental in awarding to Richard Wagner the commission to compose his Grand Festival *March. Nor was Buck’s reputation as a composer confined to his native country. His choral work, “The Light of Asia,” was performed with great success at London in 1885 and numerous works for organ, etc. were popular in England. Buck’s works in the larger forms include the choral compositions: “Chorus of Spirits and Hours,” for male voices; “King Olaf’s Christmas,” for male voices; “The Nun of Nidarus,” for male voices; “The Voyage of * This -work was produced May 10, 1876, at the opening of the centennial commemoration of the declaration of independence of the United States. Theo­ dore Thomas was the conductor. The manuscript of the March is now in the Newberry Library, Chicago, to which it was presented by Mr. and Mrs. Thomas. 7 PROGRAM NOTES—Continued

Columbus,” for male voices; “Paul Revere’s Ride,” for male voices; “Centennial Meditation of Columbus,” for mixed chorus; “Legend of Don Munio,” for mixed chorus; “The Golden Legend,” for mixed chorus; “Eas­ ter Morning,” for mixed chorus; “The Light of Asia,” for mixed chorus; The Forty-sixth Psalm, for mixed chorus; “The Christmas Year,” a series of five cantatas, for mixed chorus. For orchestra Buck wrote an over­ ture, “Marmion.” There came from his pen, too, a comic opera, “Deseret,” and anthems, offertories and other church music as well as works for organ. He did not confine his activities only to composition. Buck was the author of the following books: Illustrations in Choir Accompaniment, The Influence of the Organ in History and a Dictionary of Musical Forms. Dudley Buck’s work for solo voices, chorus and or­ chestra, “Scenes from Longfellow’s Golden Legend,” was the outcome of a prize competition for a choral work instituted in 1879 by the Cincinnati Musical Festival. The prize was $1,000.00. Twenty scores were submitted by American , and one of them—George E. Whiting—selected the same subject as that which had been taken by Buck. The latter was the successful com­ petitor, and his work was produced, under the direction of Theodore Thomas, at a concert of the festival, Cin­ cinnati, May 20,1880. The soloists were Anna B. Norton, J. F. Rudolphsen, Fred Harvey and Myron W. Whit­ ney. In addition to the new work by Buck, the program comprised Berlioz’ overture, “King Lear,” and the third act of Wagner’s “Götterdämmerung.” The Chicago Tribune sent a special correspondent to Cincinnati to report on the festival, and that reviewer wrote in part concerning Buck’s new work: “Mr. Buck’s tendency toward Wagnerism in his musical thought is no secret to those who have watched his progress, and in this work he displays it by his skillful use of the Leitmotiven and by his close linking of the poetical and musical ideas by which he secures the emotional expression, but without any sacrifice of the melodious ele­ ment. Again in the episodes, when he uses the orchestra as a factor in narration of the story, one may clearly trace the influence of Liszt and Berlioz. . . . 9 Read the RECORD NEWS each month and be well informed on the latest record releases from home and abroad. ... Be "up" on disc discus- sions about Roy Harris, Koussevitzky, Menuhin, PROGRAM NOTES—Continued Goodman, Goldmark, J. S. Bach and Bonnie Baker. . . . Your April RECORD NEWS is here. “All the numbers were received with hearty applause, and at the close of the work the house rang with calls for Buck, the com­ poser, who was escorted to the platform. The audience rose to its feet and cheered. The orchestra and chorus vigorously applauded, the ladies waved their handkerchiefs and Mr. Thomas cordially shook him by the hand.” Theodore Thomas, however, was probably less pleased by a contretemps that occurred in the interpre­ tation of “Scenes from Longfellow’s Golden Legend”; for in the twelfth scene the tenor soloist missed his cue and the confusion became so great that Thomas was forced to stop the orchestra and to begin the movement again. The work was published in 1880, with a dedica­ tion to Henry Longfellow. The excerpts from Buck’s composition that are set forth at this performance comprise part of the prologue, which begins the work, and leads directly into the March for orchestra that forms Scene VI. The score of the latter, entitled “The Road to Salerna,” contains the fol­ lowing program: “Onward and onward the highway runs to the distant city, im­ patiently bearing Tidings of human joy and disaster, of love and hate, of doing and daring. Prince Henry: Hark, what sounds are those, whose accents holy Fill the warm noon with music sad and sweet ? Elsie: It is a band of pilgrims, moving slowly On their long journey with uncovered feet. Pilgrims: Urbs coelestis, urbs beata, Supra petram collocata. Urbs in porto satis tuto De longinquo te saluto.” The March (tempo di marcia, poco moderato, B flat major, 4-4 time), begins with a subject in the strings. At the fifth measure the woodwind set forth a hymn-like subject under which, in the score, is printed the text, “Urbs coelestis,” associated with the pilgrims. At the conclusion of this the march subject is developed. Some­ what later the horns, bassoons and violoncellos give out a subject that had already been heard in the Prologue. LYON HEALY The Pilgrims’ hymn recurs at the end. affords the largest selection of Phonograph Records in America . . . scores of modern record rooms in which h to listen to them . . . helpful, prompt service . . . Record Charge Account with Lyon & Healy. Oak Park Evanston PROGRAM NOTES—Continued

Scherzo from the Music to -Bartholdy. Born Feb. 3, 1809, at Hamburg. “A Midsummer Night’s Dream,” Died Nov. 4, 1847, at Leipzig. Opus 61. The music to Shakespeare’s “A Midsummer Night’s Dream” was composed by Mendelssohn in 1843, at the request of the King of Prussia. Eduard Devrient had, however, proposed the composition of such a work to Mendelssohn more than nine years before, but nothing had come of it. The work was begun about the begin­ ning of January, 1843, and was practically finished be­ fore the summer of the same year, the production taking place October 14, 1843, in the theater of the New Palace at Potsdam. That Mendelssohn would create a masterpiece in his music to Shakespeare’s play, his friends and relatives knew even before a note had been set down. “We were mentioning yesterday,” wrote Fanny Mendelssohn on October 18, 1843, “what an im­ portant part the ‘Midsummer Night’s Dream’ has played in our house, and how we had all at different ages gone through the whole of the parts from Peas- blossom to Hermia and Helena. . . . Felix espe­ cially had made it his own, almost re-creating the char­ acters which had sprung from Shakespeare’s exhaust­ less genius.” The first concert performance of the music written by Mendelssohn to “A Midsummer Night’s Dream” was given at the fifth concert of the Philharmonic Society, London, at the Hanover Square Rooms, May 27, 1844. Mendelssohn conducted, and the vocal solos were sung by Miss Elizabeth Rainforth and Miss Anne Williams. So great was the success of this interpretation that the music was repeated at the next concert (June 10), Men­ delssohn again having been the conductor. The score of the incidental music was published in June, 1848, and the orchestral parts were issued two months later. The music consists of thirteen numbers: I. Overture; II. Scherzo; III. Melodrama and March of the Elves; IV. Song for two solo sopranos and choruses of women’s voices; V. Melodrama; VI. Intermezzo; VII. Melodrama; VIII. Nocturne; IX. Melodrama; X. Wedding March; XI. Melodrama and Funeral March; XIL Bergomask Dance; XIII. Melodrama and Finale. 13 PROGRAM NOTES—Continued

Scherzo (Allegro vivace, G minor, 3-8 time). The first and second acts are separated by this movement, which is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums and strings. The piece is based on two subjects — that put forth at the beginning by the woodwind, and another, in E flat major, played later by the strings in unison.

Symphony No. 4, A Minor, Jean Sibelius. Opus 63 Born Dec. 8, 1863, at Tavastehus, Finland. Sibelius, bom at Tavastehus, a small place in the interior of Finland, is the soil of an army physician. He was given regular musical instruction first at the age of nine and it was then that he began efforts at com­ position, Some years later Sibelius studied violin playing with Gustav Levander, the military bandmas­ ter in his native town, who also gave the boy some in­ struction in musical theory, instruction which Sibelius supplemented by assiduous study of Adolf Marx’s Lehre von der musikalischen Komposition. In spite of the remarkable gifts for musical creation that Sibelius made evident — particularly in some chamber music works written at this time—his parents, realizing that music was a precarious profession in Finland, mapped out for him a career in law. With that purpose in view Sibelius was sent to the University of Helsingfors in 1885. In the Finnish capital he met Martin Wegelius,* director of the Music Institute, and enrolled himself as a student of that master. It soon became evident to the young man that music was his life’s work, and he relinquished his legal studies in order to follow it. In 1889 Sibelius widened his artistic horizon by betaking * Martin Wegelius was born in 1846 at Helsingfors. Tn that city he studied philosophy, but always interested in music, he undertook the direction of the University singing society. Later, having made up his mind to take up music as a career, Wegelius studied in 1870-1871 with Rudolf Bibl, a well-known organist in Vienna, and with Richter and Oskar Paul in Leipzig. He became, in 1878, director of the Finnish Opera at Helsingfors and also director of a school of music there. Among the pupils of Wegelius were Sibelius, Jarnefelt, Palmgren and Melartin, all having become well-known representatives of Finnish music. Wegelius was himself a composer of ability. His works include an overture, “Daniel Hjort,” a Rondo quasi fantasia for piano and orchestra, a Ballade for tenor and orchestra, “Mignon,” for soprano and orchestra, etc. He died at Helsingfors March 22, 1906. 15 PROGRAM NOTES—Continued himself to Berlin to undertake contrapuntal study with Albert *Becker. There was no great sympathetic un­ derstanding between teacher and pupil, and a year later the latter went to Vienna, there to study with Carl Goldmark and Robert Fuchs. It was in the Austrian capital that Sibelius met Brahms, who expressed a highly favorable opinion of some songs by the Finnish composer that were brought to his attention. In 1892 Sibelius returned to his native land and began his career by teaching composition and violin at the Helsingfors Music Institute. In that year, too, he attracted public attention by the production of an elaborate work, “Kullervo,” for solo voices, chorus and orchestra. The marked impression made by the young composer’s music resulted in a life-stipend being given him by the Finnish government, a grant that enabled him to give up teaching and to devote himself entirely to composition. In order to accomplish the latter more effectively Sibelius retired to Jarvenpaa, a sequestered place some twenty miles from Helsingfors. The contributions to the literature of the symphony made by Sibelius number eight examples. The first symphony, in E minor, was written in 1899, the second in D major, was composed in 1901-02, the third, in C major, in 1905, the fourth, in A minor, in 1911, the fifth in 1915, the sixth in 1921, the seventh in 1925. The eighth is still unproduced. The fourth symphony by Sibelius was played for the first time at a concert of his own works and those of Toivo Tuula, given at Helsingfors, April 3, 1911. It was also performed at one of the concerts of the Birm­ ingham (England) Musical Festival, October 1, 1912, and Sibelius conducted it on that occasion. In America * Albert Becker (1834-1899) was one of the best known musicians in Berlin in the latter part of the nineteenth century. A pupil of Dehn, he became in 1881 organist of Berlin Cathedral. For a time Becker officiated as cantor of St. Thomas’ church at Leipzig, but he returned to Berlin, at the wish of the Emperor, to become connected with the Royal Academy. He also taught at Scharwenka’s conservatory. Becker won the attention of the public by his G- minor symphony, which took the prize offered by the Gesellschaft der Musikfreunde, in Vienna, in 1861. An even more marked impression was made by his Mass in B minor, pro­ duced in 1878. Other works included compositions for chorus and orchestra, an opera, “Loreley” (1898) and chamber music. 16 PROGRAM NOTES—Continued the work was heard for the first time at a concert of the New York Symphony Orchestra, March 2,1913, at New York. The symphony, which is dedicated to Eero Jar- nefelt, is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trom­ bones, kettledrums, bells and strings. In the year in which Sibelius completed his fourth symphony he wrote to Mrs. Rosa Newmarch (May 2, 1911) : “My Fourth Symphony is finished. It has been twice heard in concerts at Helsingfors. Although the work is by no means a concert item, it has brought me many friends. It stands out as a protest against the compositions of today. Nothing, absolutely nothing, of the circus about it.” In 1912 the Finnish master, writing again to Mrs. Newmarch, said: “Many artists, including Busoni, have spoken enthusiastically about the Fourth Symphony. It gives me great joy that you, too, think well of the work. . . . Inwardly I grow stronger and my ideas clearer day by day.” I. Tempo motto moderate, quasi adagio, 4-4 time. “The first movement,” wrote Mr. Cecil Gray, “is unusual, if not unique, in being a slow movement, constructed, in broad outline, according to the accepted principles of the classical first movement formula, with regular exposition, development and recapitulation sections. As an example of compression and elimination of superfluities it is, per­ haps, from a purely technical point of view, without parallel in symphonic literature. The initial four notes merely, embracing a compass of an augmented fourth within the duration of no more than four quarter-notes, constitute the leading theme and principal thematic germ, not merely of the whole movement, but of the entire symphony”: No. 1.

Almost immediately a solo violoncello gives out a second theme: No. 2. ■Ft -T J i ■! — P Solo V’cello A crescendo follows, there is a climax, and, after sundry modula­ tions, the movement enters the distantly related key of F sharp 17 PROGRAM NOTES—Continued major. “Various short motives are heard,” wrote Edwin Evans in an analysis made for the Philharmonic Society, London, “like strange cries, against string tremolos. There is a profusion of such material, and constant change of tone-color, sometimes also of inten­ sity, but little that can be compared to ‘development’ in the ordinary sense.” There is a Recapitulation and the movement concludes, as it had begun, with the opening subject. II. Allegro motto vivace, 3-4 time. In this movement, wild and restless in character, the principal subject is given out by the oboe:

No. 3.

The violins reply to this subject. Later the time changes to 2-4 and a new theme makes its appearance: No. 4.

After this has been developed still another section, doppio più lento, is introduced. Oboe and clarinets introduce the following figure, which dominates the remainder of the movement :

III. It Tempo Largo, 4-4 time. Of this movement Edwin Evans wrote: “The slow movement, in C sharp minor, might be described as a free fantasy with a theme which, from its somewhat tardy ap­ pearance, strives continuously toward fulfillment. It presents itself under many guises and on many instruments, perhaps the fullest statement being that confided to the violoncellos”: No. 6.

V’cellos 19 PROGRAM NOTES—Continued

IV. Allegro, 2-2 time. Cecil Gray has drawn attention to the circumstance that “the real material of the movement, as opposed to the pseudo-first subject, consists, as usual in Sibelius’ later sym­ phonies, and especially in the last movements of them, of tiny little melodic fragments, micro-organisms, which are progressively knit together into a coherent and continuous whole.” After the composer has presented what might be considered thematic germs, which are tossed about from one group of instruments to another, he introduces an episode in the first violins, the subject of which may thus be quoted: No. i.

V’lns The remainder of the movement consists of development, and sometimes repetition of previous matter.

Concerto for Pianoforte, No. 1, Peter Iljitch Tschaikowsky. Born May 7, 1840, at Wotkinsk. B Flat Minor, Opus 23. Died Nov. 6, 1893, at St. Petersburg. Tschaikowsky began the composition of his B flat minor concerto for piano in November, 1874. “I am now completely absorbed in the composition of a pianoforte concerto,” he wrote to his brother Anatol. “I am very anxious that Rubinstein should play it at his concert. The work progresses very slowly, and does not turn out well. However, I stick to my intentions and hammer pianoforte passages out of my brain ; the result is ner­ vous irritability.” The Rubinstein to whom the Russian master referred in his letter was not Anton, with whom Tschaikowsky had studied composition at the Conserva­ tory of St. Petersburg and who, after Liszt, was the greatest living pianist, but Nicholas Rubinstein, An­ ton’s brother. Nicholas, too, was a pianist of remarkable powers and there were those—including Anton Rubin­ stein himself—who believed that Nicholas was the more gifted of the two. Nicholas Rubinstein had founded and had become director of the Moscow Conservatory in 1864 and in 1866 he offered Tschaikowsky—who had just completed his course of study at the St. Petersburg Con­ servatory—the post of instructor in harmony at his 21 PROGRAM NOTES—Continued institution. The salary attached to this position was only fifty rubles ($25.00) a month, but Tschaikowsky ac­ cepted it and, when he arrived in Moscow, Nicholas Rubinstein, probably with a view to saving money for his colleague, insisted that he live with him. Tschaikowsky finished his concerto in December, 1874, and, as the work had been written for and was dedicated to Rubinstein, the composer invited the pianist and his friend Nicolai Albertovitch Hubert— one of the teachers of musical theory at the Conserva­ tory—to hear the concerto. They met in one of the class­ rooms on Christmas Eve. Rubinstein was evidently in an irritable mood. Tschaikowsky played through the first movement, but Rubinstein uttered no word. The Andante was performed. Still nothing was said; nor did the pianist vouchsafe any remark when, having closed his manuscript, the composer urged him to give some opinion as to the merits or demerits of the piece. Rubinstein then burst forth into a torrent of abuse. The concerto he declared to be vulgar, trivial, awkward to play, utterly without worth. He declared that this pas­ sage or that had been stolen. One or two of them he caricatured on the piano. “I left the room,” wrote Tschaikowsky, “without a word and went upstairs. I could not have spoken for anger and agitation. Presently Rubinstein came to me and, seeing how upset I was, called me into another room. There he repeated that my concerto was im­ possible, pointed out many places where it needed to be completely revised, and said that if I would suit the concerto to his requirements he would bring it out at his concert. ‘I shall not alter a single note,’ I replied, ‘I shall publish the work precisely as it stands.’ This intention I actually carried out.” In consequence of this quarrel, Tschaikowsky erased the dedication of the concerto and substituted for the name of Nicholas Rubinstein that of Hans von Biilow. The latter was greatly pleased and, as he was on the point of departing for a tour of the United States, in­ cluded the concerto in his repertory and gave the work its first performance at Boston, October 25, 1875. The Boston concert was conducted by Benjamin Johnson Lang (1837-1909). In addition to Tschaikow- 28 CHICAGO SYMPHONY ORCHESTRA—Sealing Plan, Season 1939-1940 FREDERICK STOCK. Conductor HANS LANGE, Associate Conductor PROGRAM NOTES—Continued

sky’s concerto, Hans von Biilow played Liszt’s arrange­ ment of the C Major Fantasie by Schubert and, as a solo, Beethoven’s Sonata, Opus 27, No. 2. The orchestral portion of the performance comprised Spohr’s overture to “Jessonda,” Beethoven’s “Prometheus” overture and Mendelssohn’s Wedding March from the music to “A Midsummer Night’s Dream.” That Tschaikowsky’s fame was well established in 1875 is evident from the satisfaction with which the program maker set forth the announcement of the Boston première. “The above grand composition of Tsehaikowsky, the most emi­ nent Russian maestro of the present day, completed last April and dedicated by its author to Hans von Biilow, has never been per­ formed, the composer himself never having enjoyed an audition of his masterpiece. To Boston is reserved the honor of its initial repre­ sentation and the opportunity to impress the first verdiet on a work of surpassing musical interest.” The new concerto achieved a great success, in spite of the fact that the orchestra was small—there were only four first violins. Von Biilow sent a telegram to Tschai- kowsky, notifying him of the triumph that had been made by the concerto. Nicholas Dmitrievich Kashkin, in his Reminiscences of Tsehaikowsky (1896) stated that “this news gratified the composer; but just then he happened to be very short of money, and it was not with­ out some compunction that he spent it all in answering the message.” It should be added that Nicholas Rubinstein later became one of the most brilliant and successful inter­ preters of Tschaikowsky’s concerto. It may be said, too, that the Russian master, in spite of his declaration that he would publish his concerto exactly as it stood when his mentor caricatured it, later issued a second edition of the work, in which numerous modifications of the original music were made. Some of the changes were made at the instance of Edward Dannreuther, a pianist who gave Tschaikowsky’s concerto its first performance in England at a Crystal Palace, London, concert, March 11, 1876. I. The work opens with a long introduction, one hundred and six measures in all (Allegro non troppo e molto maestoso, B flat minor 25 Chicago Symphony Orchestra FREDERICK STOCK Conductor HANS LANGE, Associate Conductor

SOLOIST THIS WEEK ARTUR RUBINSTEIN, Piano Mr. Rubinstein, a native of Lodz, Poland, was born in 1888. He displayed musical talent at the age of three, and was able to play the piano be­ fore he could talk. At four he came to the atten­ tion of Joseph Joachim, who arranged a recital for him in Berlin, and placed him under the guidance of d’Albert and Leschetizsky. He made his formal début in Berlin with Joachim as conductor. Mr. Rubinstein first came to the States in 1906, at which time he made his début; played with the Chicago Symphony; then fol­ lowed a rest period during which he studied until 1910. Since that time he has covered over a million miles in traveling to every civilized part of the world. This will be his fifth appearance here as soloist.

HENRY E. VOEGELI presents MARILYN MEYER PIANO RECITAL ORCHESTRA HALL-TUESDAY EVENING s-Js APRIL 16 PROGRAM Organ Prelude in G Minor Bach-Siloti Chromatic Fantasy and Fugue Bach Sonata in C Major, Opus 53 ("Waldstein")...... Beethoven Allegro con brio. Adagio molto. Rondo: Allegretto moderato—Prestissimo. Nocturne, D Flat Major Etude, A Minor (Chromatic) Etude, G Sharp Minor (Thirds) * Chopin Etude, D Flat Major (Sixths) Scherzo, C Sharp Minor Intermezzo in E Major, Opus 116...... Brahms Perpetual Motion ...... Weber Hungarian Rhapsody, No. 12 ...... Liszt

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26 PROGRAM NOTES—Continued and D flat major, 3-4 time). After six preliminary measures in the orchestra the real theme of the Introduction appears in the strings, one measure after the entrance of the sweeping chords of the solo instrument. At the conclusion of the theme in the strings the piano repeats it with rhythmical modification. This leads to a cadenza for the piano, following which the theme returns again in a unison of all the strings (double-basses excepted) with ascending chord passages in the solo part. A short coda and some soft chords in the brass lead into the main movement (Allegro con spirito, B flat minor, 4-4 time). The principal theme is preceded by six measures, similar in rhyth­ mical character, in the piano. The subject commences in the solo instrument, the strings *accompanying. The second theme (Poco memo mosso) appears in the woodwind and horns in A flat major, the piano continuing it. The muted strings bring forward a second sec­ tion, after which the first reappears. The development works out both principal themes in an extensive orchestral tutti. The piano then follows with a solo section (thirty-eight bars long). There is a long organ-point on B in the basses and kettledrums, with imitative pass­ ages above it in the solo instrument and orchestra. The two themes are given further development. The Recapitulation of the principal subject is brought forward in broken octave sixteenth notes in the piano (pizzicato chords in the strings). The second theme, now in B flat major, is given to the oboe, with the accompaniment in the stringed instruments. Following repeated chords, fortissimo, heard alternately in the orchestra and piano, an elaborate cadenza is intro­ duced, its material built on the second theme. The coda makes use of this matter, too, the theme being given employment in the orchestra, while brilliant passage-work is heard in the solo instrument. II. (Andantino semplice, D flat major, 6-8 time.) Four prefa­ tory measures (pizzicato in the strings), usher in a simple melody, given to the flute. The piano takes this up. Another theme appears in the oboe, clarinets and bassoons—the latter putting in a drone bass. This is also repeated by the solo instrument. The first theme recurs, played by two solo ’cellos, with a sixteenth-note figure in the piano. The time changes (Prestissimo, F major), the character of the music suggesting the nature of a scherzo. Twenty-two measures later than this a waltz-like tune is given to the violas and violoncellos. This melody—like that in the first subject of the opening movement—is not entirely Tschaikowsky’s. The composer’s brother Modeste de­ clared that it was the refrain of a French song which he and his brother Anatole used to sing and whistle in their younger days. The

* This theme is not altogether of Tschaikowsky’s creation. The first portion of it is a tune which, sung by a blind beggar at Kamenko, the Russian master heard and determined to turn to account. “It is curious,” wrote Tschaikowsky to Nadeshda von Meek, May 21, 1879, “that in Little Russia every blind beggar sings exactly the same tune with the same refrain. I have used part of this refrain in my pianoforte concerto.” 27 Œlitnuu1 S>gnqrfjimg (0rdwstra FOUNDED BY THEODORE THOMAS IN 1891

1939 — FORTY-NINTH SEASON — 1940

FREDERICK STOCK, Conductor HANS LANGE, Associate Conductor HENRY E. VOEGELI, Manager

CONCERTMASTER VIOLONCELLOS CLARINETS WEICHER, J. KURTZ, E., Principal LINDEMANN, R. POWERS, D. EVENSON, S. WAGNER, R. SCHALLER, L. VIOLINS STOWELL, J. QUICK, R. ll’rincina’s SOPKIN, G. POLESNY, F. J1 r,nclPa-3 RATZER, T. BASS CLARINET FAERBER, J. ZEDE-LER, N. SCHALLER, L. HANCOCK, W. BEIDEL, R. BASSOONS CHARBULAK, V. NOVY, J. FOX, H. GRADMAN, E. HENDRICKSON, R. RABE, H. SORKIN, L. TRNKA, A. KESSLER, C. MARTINSON, M. JORDAN, S. BASSES REINERS, R. JISKRA, V., Principal CONTRA-BASSOON RINK, C. JORDAN, S. HOUDEK, J. RACINE, C. FAHSBENDER, R. HORNS CH AU SOW, O. HYNA, O. FARKAS, P. HYNA, E. KOVAR, A. VERSCHOOR, W. MOLL, D. KALINA, V. POTTAG. M. SENESCU, B. MOÜREK, J. OBERMAN, M. BROWN, H. ERICKSON, F. LANIGAN. J. ZIKA, C. KLIMA, J. TRUMPETS MORELLO, C. SCHILKE, R. HAND, A. BOOS, F. HUFFMAN, G. DU MOULIN, G. HARP MASACEK, E. KÜPPER, II. VITO, J. HOLZ, F. BARKER, O. BASS TRUMPET KAHN, P. PIANO HOLZ, F. KESSLER, C. KOVACS, J. TROMBONES DOLNICK, S. ORGAN CRISAFULLI, F LEVITON, S ZIMMERMAN, W. GEFFERT, E. FINERMAN, A. ANDERSON, D. FLUTES JOHNSON, R. K. BASS TUBA MUELLER, N. LIEGL, E. JOHNSON, R. HAMBURG, G. KOPP, E. BOOS, F. HOLZ, F. ECK, E. VAN VACTOR, D. TIMPANI METZENGER, E. VIOLAS PICCOLO KÜPPER, H. PREVES, M„ Principal ECK, E. PERCUSSIONS EVANS, C. VAN VACTOR, D. VESELEY, B. ESSER, F. OBOES SAYERS, L. PERKINS, H. MUELLER, F. KOPP, E. LEHNHOFF, S. RUCKLE, L. LIBRARIAN FI ALA, R. NAPOLILLI, F. SHER, H. HANDKE, P. MAYER, R. LINKE, C. BOOS, F. RODA, J. ENGLISH HORN PERSONNEL RITTNER, F. MAYER, R. HANCOCK, W. 28 PROGRAM NOTES—Continued piano brings forward a cadenza, following which the first part of the movement returns. The melody of this theme is heard in the solo instrument, a moving figure working against it in the first violins and violas. III. (Allegro con fuoco, B flat minor, 3-4 time.) The principal theme, pronouncedly national in character, is announced by the piano. Following this an episode is heard in the full orchestra in G flat major, fortissimo. The real second subject comes later in the vio­ lins, with a syncopated accompaniment in the horns. This is taken up by the piano, which eventually returns to the principal theme. An episode now occurs, the dotted figure of which it is composed having been already suggested in the woodwind at the close of the previous subject. The orchestra and the solo instrument toss this figure, back and forth, but it finally gives place to a rehearing of the first episode, again fortissimo in the orchestra. There is some development given to the seeond theme, following which the Recapitulation appears— its principal theme in the piano. A long organ-point on F (in the basses and kettledrums), with development of previous material, leads to the repetition of the second subject (Motto memo mosso), which is called out triumphantly by the whole orchestra and the solo instrument. A brilliant coda (Allegro vivo) concludes the work.

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29 APR. 18 and APR. 19 (FINAL PROGRAM OF THE THURSDAY-FRIDAY SERIES) (PROGRAM SUBJECT TO CHANGE)

Overture, “Le Carnaval Romain,” Opus 9...... Berlioz Symphony No. 1, C Minor, Opus 68...... Brahms Un poco sostenuto—Allegro. Andante sostenuto. Un poco allegretto e grazioso. Adagio—Piu andante—Allegro non troppo, ma con brio.

INTERMISSION Overture to “The School for Scandal” Barber Moto Perpetuo, Opus 11...... Paganini (Played by all the Violins) Symphonic Poem, “The Pines of Rome” Respighi The Pines of the Villa Borghese— The Pines Near a Catacomb— The Pines of the Janiculum— The Pines of the Appian Way. AP-- aatâè GM Tickets: Main floor $1.50, $2.00, $2.50; Balcony $1.00, $1.50; Gallery 50c

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